It should have been clear that I was quoting MakeMusic. That claim is not mine to make and I didn’t.
Yes off course, but in quoting your name was copied also!
One thing occurs to me on the back of this more recent update from MM. The offer of Finale 27 with Dorico for crossgrader is pretty good given everything. However I switched to Dorico some years ago, so don’t qualify, and the most recent version of Finale I still have access to is Finale 25.5. Does anyone know if there are significant differences in the exporting to XML capabilities between 25 and 27?
I sing my solos and record the good ones and then transcribe them using finale. Would love to work with my Dorico dev to get a really good function for this
There will be some; but given that you’re already familiar with Dorico now, you’ll be able to tidy up those scores pretty quickly. I wouldn’t buy Finale 27.4 now.
You can download the Finale demo still, which would give you 30 days. At least… 
“Amen!” Thanks for being such a thoughtful steward of so much important music, Todd.
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Not to minimize @FredGUnn 's concern for the ability to arrange these standards in the future, but wouldn’t copyright registration of any of these arrangements include Library of Congress copies that could be available to the Smithsonian?
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LOL, would be nice if it were true, but I think it’s pretty safe to say that if we round to the nearest 0.1% the number of these that were registered that way will round to 0. Most of these from the 90s I just provided hard copies. It wasn’t until early-00s that I started making pdfs of everything, or that clients really wanted pdfs too.
Of course, I was just the copyist, I have no rights to distribute any of these myself, so I don’t. I converted everything I had of Slide’s music when he restarted his big band a couple of years before he passed, so his son has everything I ever did for him, and they are looking for a way to sell them online, but I’m not holding my breath. A lot of these arrangements were just one-offs for a gig, then the music stuck in a closet somewhere. Lots of music was probably just thrown out. I have no idea what happened to all the amazing music commissioned for the Carnegie Hall Jazz Band either, as George Wein sold Festival Productions 15 years or so ago. Probably buried in a storage unit somewhere. For those artists that have passed away, it’s likely the only place much of the work is accessible in any sort of practical sense is my hard drive.
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According to Daniel, features for transcription will be added in a future version.
However, you can import video to Dorico (one per flow) and in the meantime you can use a workaround for transcription:
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Record or import your audio in a DAW and make the tempo map
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Export audio and the tempo map
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Convert your audio to video
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Attach the video to a flow in Dorico and import the tempo map
Your audio will now play in Dorico perfectly synced with tempo changes.
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This is scary. You are the keymaster and the gatekeeper all rolled into one! Take good care of this stuff… 
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Not on topic but…
…
Made me think of jazz legends who are still kicking:
Roy Haynes: 99
Dick Hyman: 97
Toshiko Akiyoshi: 95
Marty Grosz: 94
Sonny Rollins: 93
etc…
What is it with New York-based jazz people? Is it something in the water? (come to think of it, Doc Severinsen is from the West Coast and he’s 97). Or is it a by-product of Jazz itself!
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This post is not meant to sound snarky, but Discourse can support sub categories. It may be good now to have a subcategory for Finale refugees. Because already you can see the endless complaints coming in about how hard it is to install and licence, and they are all going to want their Finale key mappings, and they will all be thrown by Dorico’s conceptual architecture, and the shortcomings of Music XML will come to the fore, and how it is not ‘intuitive’, and I could go on. Mark my words! [As an owner of several Discourse sites, I sometimes find it useful to corral a set of users into one area.]
In any case, a big Welcome to all Finale users moving over. Once you read the manual and watch the excellent training videos on the Steinberg youtube channel you will be set to go. The manual is over 1200 pages - a tribute to the power of Dorico - but you don’t have to read it all to get going. Personally I do not like the new online help site one bit. but to let you know, you can still download the full PDF. There is a steep learning curve, as with any comprehensive program such as Photoshop, so don’t expect to learn it all in two days. And stick at it. Your muscle memory will soon adapt.
And finally, to reiterate what others have said, this is a remarkable forum of very learned and helpful engravers and musicians, always willing to spend time for others. And the most remarkable thing is that unlike any other company I know, Dorico staff are here and active on the forum and listen to everybody and everything. Why, they even implemented some of my suggestions! Exceptional support, unique.
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Marshall Allen is 100 and still touring! Bill Crow is 96. I played a gig with him last year and he’s still playing fantastic! Not quite over 90 yet, but Cecil McBee is 89 and still gigging too.
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I’m sure you are right – But I am just as sure that if a sub-category is set up, as many people will come posting in the wrong place as the right one, making a larger administrative mess.
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Forgot about Marshall Allen! Good on him!
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Thanx a lot! I can give you some ideas if you want to that might help a transcriber. Like muting certain bars and notes and stems in a controlled way
I also think that segregating transfer users from Finale would deprive them of the many benefits of the collective experience of users and Dorico developers collected on this site.
A mass influx of new folks from Finale will likely soon level off.
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All of this had me wondering – what is the closest method to future-proofing? I think in many ways it is realistic to say (even if we don’t want to believe) that software, hardware, and all the companies behind them will eventually fade, close, merge, switch tack. In many ways it’s impressive how long Finale lasted. But as much as I love and believe in Dorico and Steinberg, who knows what technology and the industry will look like 20-30 years from now. Will there come a point when our current Dorico files will no longer be supported, whether that is due to Steinberg ending Dorico or computers and technology shifting so greatly that such project files couldn’t be supported?
Even for those who will not be alive in 20-30 years, it’s something important to think about for historical preservation and the future generation. Are PDFs and MusicXMLs the best methods we have for future-proofing? Stored in the cloud?
Asking out of curiosity but also because I’d like to start considering a secondary backup method of saving projects too!
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My admittedly very crude understanding is that the forthcoming MNX might be an important evolutionary figure related to this, as “it’s first and foremost designed to store and exchange semantic elements of music.”
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Indeed. We still have complaints about Copper merchants from 4000 years ago; but the first Yelp review is lost forever.
Most institutional Libraries have a policy of migrate, update. You migrate data to new software, and update your hardware, as a rolling, continual practice.
Obviously, open standards for documents that are well-documented are essential, along with human-readable formats like XML.
I make it a habit to PDF every document I finish. I print from those, too – as I’m certain that nothing has changed.
I XMLed everything from Finale – first, things I was currently working on; then things that were finished, but I wanted a ‘Dorico’ version; then everything else.
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